Note-sheet for automatic musical instruments.



C. F. STODDARD.

NOTE SHEET FOR AUTOMATIC MUSICAL INSTRUMENTS SEPTJS, I9I4.

APPLICATION FILED Patented Feb. 19 1918.

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CHARLES F. STODDARD, OF NEW YORK, N. Y.

NOTE-SHEET FOR AUTOMATIC MUSICAL INSTRUMENTS.

Specification of Letters Patent.

Patented Feb. 19, 1918.

Application filed September 28, 1914. Serial No. 863,957.

1 0 all whom it may concern:

Be it known that I, CHARLES F. STODDARD, a citizen of the United States, and a resident of New York, county and State of New York, Note-Sheets for Automatic Musical Instruments, of which the following description, in connection with the accompanying drawings, is a specification, like characters on the drawings representing like parts.

This invention relates to prime controllers, such as perforated note sheets, for use upon automatic player pianos and the like.

One of the objects of the invention is to improve the playing governed by a note sheet, particularly as regards the tone coloring. My earlier Patent No. 1,025,077, dated April 30, 1912, describes an improvement in note sheets having for one of its objects the production of the so-called singing tone which characterizes and distinguishes the manual playing of some of the greatest artists. While the invention of said patent contributed very important improvements in tone coloring, the features of the present invention, especially when combined with the features of invention of said patent, produce very highly refined efl'ects, in some cases of greater tonal beauty than is possible to be procured even by the most skilled manual playing.

The character of the invention may be best understood by reference to the accompanying drawing which shows, for purposes of illustration, a fragment of a note sheet having perforations arranged in accordance with one aspect of the invention.

Referring to the drawing, the arrow A indicates the assumed direction of travel of the illustrative note sheet. The perforations illustrated in full lines are those which would have been cut in the sheet according to the practice which prevailed in the art prior to the invention disclosed in my said patent. That is to say, the full line perforations of the drawing are assumed to have been laid out by reference to a musical score or a record of an artists playing, by relatively locating the advance ends of the perforations so as to sound their respective notes in desired musical sequence, and by giving to the perforations relative lengths corresponding to the respective durations indicated upon the score or record. The dotted line prolongations of the full line per .forations indicate the extension of the perhave invented an Improvement in forations for sustaining their notes in accordance with the invention of my said patent; and the dotted line perforations at the left-hand margin of the illustrative sheet indicate pedal operating perforations of unique character and purpose which cooperate with the other perforations and prolongations to produce the ultimate refinement in tonal eifect contemplated by the present invention.

The transverse lines m, m and m inclicate lines of division between. so-called pedaled sections, 6., those sections of the note sheet corresponding respectively to periods during which a damper pedal, ac cording to the score or record, is intended to be depressed to hold all the strings undamped. For example, it is assumed that the score or record from which the illustrative note sheet is made indicates a damper pedal operation by which the dampers are removed from the strings at a point corre sponding to the line m, are held off the strings during the period represented by the distance from line at to line m, and are returned to the strings at the point corresponding to the line m. Similarly, the section m, m represents approximately a second pedaled section.

One of the objects of my patented invention is to provide for extending perforations for selected notes from one pedaled section into another, to the exclusion of non-selected notes. For example, it is assumed that the note of perforation 1 would enter desirably into the harmonies of both the first and second pedaled sections and therefore the full line perforation 1 is provided with a prolongation 2, the effect of which, well understood by those skilled in the art, is to hold the corresponding string of the player piano or the like undamped so as to be freeto vibrate indefinitely as a result of the original percussion corresponding to the advance end of the perforation 1, and also to vibrate sympathetically in response to the vibration produced from time to time in other strings. The prolongation 2 is shown as extending throughout the fragmentary note sheet shown in the drawing and, in fact, it may extend as long as instance, until it is terminated string and prevent original or sympathetic vibration thereof concurrently with the vibration of another string which would prd duce with the first a discord.

to damp its desired,-i'or llO The note of perforation 3 is assumed to be harmonious with all of the other notes sounded in the first pedaled section m, m, but it is further assumed that the note of perforation 3 would produce undesirable discord if pern'iitted to continue into the second pedaled section m, m To suit these assumptions, the perforation 3 is provided with a prolongation :l: which holds the corresponding string undainped throughout the pedaled section m, 7.12 but said prolongation a is terminated at such a point as to prevent any substantial overlapping of the tone thereof with those tones of the second pedaled section at, m which would tend to produce the discord.

The perforation 5 may be designated an initial sounding perforation and the perforation 6 may be designated a resounding perforation, the former initially sounding" a note and the latter subsequently resounding the same note. The advance ends of the perforations 5, 6, are relatively located to suit the tempo or rhythm indicated by the score or record; and to a desirable extent the tone quality is improved by roviding the perforation 5 with a prolongation 7, having its rear end positioned proximate the advance end of the resounding perforation 6. Similarly, an initial sounding perforation 8 has a prolongation 9 extending to a point near the advance end of a resounding perforation 10; and an initial sounding perforation 11 has a prolongation 12 extending to point near the advance end of the resounding perforation 13. An initial sounding perforation 14 has a prolongation 15 extending to a pointnear the advance end of a resounding perforation 16. The perforations 17 and 18 are assumed to play a part of the theme.

It has already been explained that the note of perforation 3 is notdesired to be continued into the harmonies of the second pedaled section m, m". Similarly, it is assumed that the note of the perforations 8'9 and 10 and the notes of the perforations 17 and 18 would produce undersirahle discord if continued into the second pedaled section. Therefore, as indicated in the drawing, these several perforations are terminated at or near to the line m so that their corresponding strings shall be damped preparatory to the playing in the second pedaled section which otherwise produce discord. Thus, while the perforations 3 and 8 are prolonged to improve the tonal efiects within the pedaled section m, m, the notes of these perforations are confined to the first pedaled section.

On the other hand, it is assumed that the note sounded and resounded by the perforations 5 and 6; the note sounded resounded bythe perforations 11 and 13, and the note sounded and resounded by the perforations 14 and 16, are all, as in the case of the note of perforation 1, desirable to be added to the harmonics of the second pedaled section. Therefore, the perforation G has a prolongation 20 extendin to a point near the advance end of a resounding perforation 21 which in turn has a prolongation which continues the sounding of the note throughout the second pedaled section m, m and into a third pedaled section, as indicated. Also the perforation 13 has a prolongation 23 terminating near the advance end of a resounding perforation Ql which in turn terminates near the second resounding perforation having a prolongation "26 which continues the note throughout the second pedaled section m, m and into a third pedaled section. The perforation 16 has a prolongation 27 which continues the note through the first pedaled section m, m and into the second pedaled section m, m, the prolongation 27 being terminated near the advance end of a resounding perforation 28, which has a prolongation 29 continuing the note through the second pedaled section and into the third. The perforations 30 and 31 play part of the theme.

\Vith the arrangement of prolongations above described it will be noted that the prolongations 2, 2'0, 23 and 27 carry into the harmony of the second pedaled section m, m notes, selected from the first pedaled section, to the exclusion of other notes, which selected notes would otherwise by eliminated. The notes thus continued by said prolongations 2, 20, and 27 desirably combine with the notes of perforations 31, 32 and 33, introduced for the first time in the second pedaled section, and by this combination the tone quality is highly improved, the notes selected for prolongation from the first into the second pedaled section being so selected by one skilled in the art for the purpose of producing the desired effects.

The note 32 has a prolongation 31 extending through the second pedaled perforation and into the third; and the perforation 33 has prolongation 35 which is terminated near the line m on the assumption that its note would not enter desirably into the harmony of the third pedaled section.

Another new note is introduced into the harmony of the second pedaled section by the perforation 36 having a prolongatioii 37 which continues the note through the second pedaled section and into the third.

The arrangement of prolongatious above described embodies the invention of m aforesaid patent and accomplishes at least some of the objects of said invention. For instance, the various prolongations of perforations between the lines mand m sustain the individual notes to produce a highlv refined approximation of continuity of tone throughout the first pedaled section; and

the fact that the tones are sustained individually, one for each prolonged perforatlon, produces a purity of tone coloring which distinguishes from the sustaining effects produced when all'of the strings are held undamped by a damper pedal operation. In other words, the prolongations of the individual note perforations within the pedaled section hold undamped only the notes particularly selected to be played in. that pedaled section, whereas if the usual damper pedal were held depressed during a period corresponding to the pedaled section, all of the strings would be held undamped to permit indiscriminate sympathetic vibration and a more or less impure volume of tone. Also the described arrangement of prolongations permits selected tones to be continued from the first pedaled section into the second and, in some cases, thence into the third. Thus, a very desirable purity of approximately continuous tone is obtained by utilizing the prolongations described in my said patent and avoiding the use of pedal operating perforations with which it might be attempted to produce similar but much less refined and pure sostenuto effects.

In employing such prolongations of individual perforations, however, it is found that perceptible interruptions in the continuity of tone occur between initial-sounding and resounding perforations. For instance, the rear end of the prolongation 7 may have the effect of damping its corresponding string so that the vibration thereof ceases prior to the resounding by the perforation 6. A similar hiatus may occur between the prolongation 9 and resounding perforation 10: between the prolongation 12 and resounding perforation 13; between prolongation 15 and resounding perforation 16. To eliminate even these comparatively slight interruptions in continuity of tone, I employ a pedal operating perforation 40 preferably made only long enough to bridge the intervals between the initial. sounding prolongations and the resounding perfora' tions so as to hold their respective dampers off their strings until the initial percussion of resounding has occurred. The intervals 7-6, 910, 1213, and 15--16, are in staggered relation transversely of the illustrative sheet, and it is convenient to use a single pedal operating perforation 40 of sufficient length to bridge all said intervals, but the advance end of the pedal perforation 10 is so alined across the sheet relatively to the rear end of the prolongation 7, as to catch the damper corresponding to the prolongation 7 just in time to prevent its being returned to damp its string. And the pedal perforation 40 has its rear end located in such position as to hold the damper corresponding to the perforation 13 off the string just long enough to permit the advance end of the perforation 13 to catch the damper and hold it independently of the pedal perforation. Thus, while the pedal perforation 40 serves to bridge the intervals referred to, and to prevent the interruptions in continuity of tone, the described arrangement nevertheless may minimize the period of time during which all of the strings remain undamped so that, if desired, the intended complete continuity of tone may be produced with only a minimum sacrifice of the purity of tone quality referred to. As will be apparent to those skilled in the art, it may be desired to utilize the effect of undamping all the strings on some occasions, and when this is true, the length of the pedal perforation need. not necessarily be minimized.

In the second pedaled section there are intervals between the prolongation 20 and the resounding perforation 21 and between the prolongation 23 and resounding perforation 2-1. These intervals are bridged over by a pedal-operating perforation 41 which may hold all the dampers away from the strings long enough to prevent any damping of the individual strings corresponding to the perforations 21 and 24:. In this case it is assumed that the respective intervals following prolongations 20 and 23 are alined across the note sheet and the advance end of the perforation 41 is positioned so as to hold the dampers off the strings just as they are about to be returned by the rear ends of the perforations 20 and. and the rear end of the perforation 4:1 is so located as to release all the dampers as soon as the perforations 21 and 24 have had the effect of catching their respective dampers to prevent damping their strings. hen the effect of a damper pedal perforation is thus limited, it holds all the strings undamped for a moment, but under circumstances in which inharmonious sympathetic vibration is practically imperceptible. For example, the advance end of perforation 41 'undamps all the strings a considerable time after the initial percussions by the perforations 33, so that the vibrations of their respective strings have substantially subsided so as to be comparatively ineffective to produce audible sympathetic vibrations of other strings, while permitting, however, the ex isting vibration of the strings of perfon tions 20 and 23 to continue. Thus, when the strings are all undamped by the advance end of the perforation 4.1, little if any sympathetic vibration is perceived. Also the rear end of the perforation all so placed that the general undamping of the strings ceases preferably immediately upon the initial percussion by the perforations 21 and 2 1, and at a time when the loudness of the notes produced. by said percussions substantially obscures such sympathetic vibration of other strings as may be produced by said percussions.

Another pedal perforation 4:2 is shown as bridging over intervals 2i-25 and 27-28, these intervals being of greater extent than the intervals 20-21, 23-2i, already referred to. The intervals 20-21 and 23-2-l are assumed to be as short as may be to permit the resounding by the perforations 21 and 24:. As described in my copending application Serial No. 866,218, filed October 12, 191%, these minimum intervals produce the effect of subduing the resounded note. The greater intervals 2i-25 and 27 28, also as described in said copending application, produce an apparent emphasis upon the notes resounded by the perforations 25 and 28. As will be apparent to those skilled in the art, the combination of varying intervals between sounding and resounding perforations and pedal perforations, such as the perforations i1 and l2, may be employed to produce beautiful effects in great variety, and when also combined with the prolongations of individual perforations may produce still further refined and beautified results.

It is to be understood that this invention is not limited to the particular arrangementdescribed above for illustration. Nor is it indispensable that all of the features of the invention be used conjointly, since they may be used in different combinations and subcombinations.

Claims:

1. A music sheet for automatic musical instruments comprising, in combination, initial sounding and resounding perforations; and means on the sheet for holding their respective strings undamped after the initial sounding and until resounding, said means being constructed and arranged to act at substantially thetime the initial sounding perforation is about to release its damper and to cease operating at substantially the time the resounding perforation would act to undamp the string.

2. A. music sheet for automaticanusical instruments comprising, in combination, sounding and resounding perforations; and pedal operating perforations of minimum length to hold the strings of said sounding and resounding perforations undamped dur ing the interval between sounding and resounding.

A music sheet for automatic musical instruments comprising, in combination, in itial sounding and resounding perforations, the initial sounding perforations being prolonged beyond lengths corresponding to the indications on the score or record from which the sheet ismade, to locate the rear ends .of such prolongations roximate the advance ends of respective resounding perforations whereby to prolong the initially sounded tones to approximately the time of resounding; and means on the sheet to hold the sounding strings undamped until they have been resounded.

4:. A music sheet for automatic musical instruments, comprising, in combination, initial sounding and resounding perforations, the initial sounding perforations being prolonged beyond lengths corresponding to the indications on the score or record from which the sheet is made, to locate the rear ends of such prolongations proximate the advance ends of their respective resounding perforations whereby to prolong the initially sounded tones to approximately the time of resounding; and pedal operating perforations to hold the sounding strings undamped until they have been resounded by the resounding perforations.

5. A music sheet for automatic nuisical instruments comprising, in combination, initial sounding and resounding perforations, the initial sounding perforations being prolonged beyond lengths corresponding to the indications on the score or record from which the sheet is made, to locate the rear ends of such prolongations proximate the advance ends of their respective resounding perforations whereby to prolong the initially sounded tones to approximately the time of resounding; and pedal operating perforations having their advance ends located to act at substantially the time the rear ends of the initial sounding perforations tends to damp their strings and having the rear ends of said pedal operating perforations located to operate at substantially the time the advance ends of the resotmding perforations cause their notes to he re sounded.

6. A music sheet for automatic musical instruments comprising, in combination, perforations having their advance ends relatively located to sound their respective notes in desired musical sequence and having prolongations extending beyond the lergths corresponding to the indications of the ore or record from which the note sheet was made. said perforations comprising sounding and resounding perforations: and means on the sheet to prevent interruption of continuity of a sounded tone during the interval between its sounding and res unding.

7. A music sheet for automatic musical instruments comprising, in combination. perforations having their advance ends rela' tively located to sound their respective vnotes in desired musical sequence and havinrz prolongations extending beyond the lengths corresponding to the indications of the score or record from which the note sheet was :made, said perforations comprising sounding and iesoiunding perforations; and means on the sheet to undamp all the strings during desired intervals in the playing of said perforations. V

8. A note sheet for player pianos and the like, having note perforations therein with 5 their advance ends relatively located to sound their notes in desired musical sequence; and having selected perforations prolonged beyond lengths corresponding to the notation of the score or record from which the sheet is made, said prolongations terminating proximate the advance ends of perforations for resounding notes of said prolonged perforations; and pedal operating perforations slightly overlapping the rear ends of said prolongations and the advance ends of the resounding perforations to hold the strings undamped until resounding while minimizing the duration of undainping by pedal operating perforations. 9. A note sheet for player pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolongations producing continuity of tones corresponding to said selected perforations; and certain of said note perforations being followed by resounding perforations; and pedal operating perforations for producing continuity of tone between said sounding and resounding erforations. p

10. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having selected perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolongations extending beyond the rear ends of non-selected perforations to add to the next succeeding harmony indicated on the score or record, the selected tones to the exclusion of the non-selected tones; and said note perforations including sounding and resounding perforations; and pedal operating perforations to prolong the tones of sounding perforations until resounding.

11. A note sheet for player pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made to produce a general continuity of the individual tones while avoiding inharmonious sympathetic vibration; and pedal operating perforations for continuing the tones of sounding perforations until resounding by following perforations.

In testimony whereof, I have signed my name to this specification, in the presence of two subscribing witnesses.

CHARLES F. s'ronnann.

Witnesses:

Howann A. BROCKWAY, A. M. VAN Nrss.

Copies of this patent may be obtained for five cents each, by addressing the "Commissioner of Patents, Washington, D. 0." 

